Word: ashes
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Joseph Vitolo Jr., nine years old and small in the underfed fashion of the poor, was the 18th child (nine still living) of an immigrant Italian who makes a little money working on an ash truck, and a fat Italian mother who helps buy food by cutting flowers out of cloth. He went to school, where his teachers considered him bright, and in the evenings he played in a rock-strewn vacant lot. Usually he played with the neighborhood girls because he was too little to get much attention from the older boys...
...Davis doesn't consider himself an abstractionist; he tags himself as just a painter who has finally learned what not to paint. His father was Edward Wyatt Davis, art director of the Philadelphia Press (TIME, Oct. 29). His first teacher was Robert Henri, leader of the "Ash Can School" of painting, who scorned pastoral prettiness in art. In his teens Davis obediently wandered the streets of New York, sketching what he saw. He learned to love the rattling, ironwork kaleidoscope of city life, the eye-catching colors of chain-store fronts, gasoline pumps and taxicabs; the bright blinking...
Both reporters seemed a little unsure what to do in the presence of the Emperor, who received them in morning dress. (Baillie: "He was taller than I expected"; Kluckhohn: "He was about the average height of the Japanese.") The Times man had to wait, but was provided with ash tray and matches, then was led in, shook hands with the Son of Heaven ("I did not bow nor was I asked to"). He and the Emperor chatted about ten minutes before "I backed out, walked back down the hall to the waiting room to pick up my overseas...
...Esquire in 1936) in which Fitzgerald explained his decline from high-ranking novelist to Hollywood hack. The result is an extraordinary character-study, wholly free from reticence or whitewash. Readers who hope to recapture the lilt and flame of flapper days will find themselves staring at the clogged ash trays and unwashed glasses of the morning after...
...exhibits ranged from a sketch of a row of ash cans to voluptuous nudes, from academic watercolors to trick photographs like that of a G.I. being menaced by a ten-foot hypo needle. One above-average recording of Army life "off limits" was T-4 George R. Imhof's Leaving Fast-a harassed G.I. taking hasty leave of two dingy girls in a dingy back room (see cut). At the opposite pole of graphic imagery: Corporal Neil D. Schworm Jr.'s Corpse in the Moonlight, a gouache fantasy featuring a robed skeleton floating high over a toylike country...